Further Reading: Secondary Sources
Anders, Jessica. “Walk This Way: A Contextualization of the Dance of Death in MS M.359.” MA thesis, University of Missouri-Columbia, 2016.
Anglo, Sydney. “The Barriers: From Combat to Dance (Almost).” Dance Research 25, no. 2 (2007): 91-106. https://doi.org/10.3366/drs.2007.25.2.91.
Arcangeli, Alessandro. Recreation in the Renaissance. New York: Palgrave Macmillan, 2003.
_____. “Dance under Trial: The Moral Debate 1200-1600.” Dance Research 12, no. 2 (1994): 127-155.
Barish, Jonas. The Antitheatrical Prejudice. Berkeley, CA: University of California Press, 1981.
Baldwin, Elizabeth. Paying the Piper: Music in Pre-1642 Cheshire. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2002.
Barlow, Jeremy. A Dance through Time: Images of Western Social Dancing from the Middle Ages to Modern Times. Oxford: Bodleian Library, 2012.
Béhar, Pierre, and Helen Watanabe O’Kelly, eds. Spectaculum Europaeum: Theatre and Spectacle in Europe. Wiesbaden: Harrassowitz, 1999.
Belsey, Catherine. Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture. Basingstoke: Palgrave Macmillan, 1999.
Bortoletti, Francesca. “An Allegorical Fabula for the Bentivoglio-d’Este Marriage of 1487.” Dance Chronicle 25, no. 3 (2002): 321-342.
Borys, P. A. M. “Historical Changes in Morris Costume and Sponsorship.” American Morris Newsletter 14, no. 3 (1990): 7-15.
Brainard, Ingrid. “Dance: Middle Ages and Early Renaissance.” Revised by Jennifer Nevile. In Grove Music Online, edited by Deane L. Root, 2014.
_____. “New Dances for the Ball: The Annual Collections of France and England in the 18th Century.” Early Music 14, no. 2 (1986): 164-174.
Brooks, Lynn Matluck. The Art of Dancing in Seventeenth-Century Spain: Juan de Esquivel Navarro and His World. London: Associated University Presses, 2003.
_____, ed. Women’s Work: Making Dance in Europe Before 1800. Studies in Dance History. Madison, WI: University of Wisconsin Press, 2008.
Brown, Sarah, Robert Lublin, and Lynsey McCulloch, eds. Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance. New York: Palgrave MacMillan, 2013.
Bryson, Anna. “The Rhetoric of Status: Gesture, Demeanour and the Image of the Gentleman in Sixteenth- and Seventeenth-Century England.” In Renaissance Bodies: The Human Figure in English Culture c. 1540-1660, edited by Lucy Gent and Nigel Llewellyn, 136-153. London: Reaktion Books, 1990, 1995.
Buckley, Ann, and Cynthia J. Cyrus, eds. Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2011.
Burden, Michael. “To repeat (or not to repeat)?: Dance Cues in Restoration English Opera.” Early Music 35, no. 3 (2007): 397-418.
Burke, Peter. The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano. University Park, PA: Pennsylvania State University Press, 1996.
Butler, Martin. Theatre and Crisis, 1632-1640. Cambridge: Cambridge University Press, 1984.
Canova-Green, Marie-Claude. “From Tragicomedy to Epic: The Court Ballets of Desmarets de Saint-Sorlin.” Dance Research 25, no. 2 (2007): 156-166. https://doi.org/10.3366/drs.2007.25.2.156.
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923.
Chappell, William. Popular Music of the Olden Time: A Collection of Ancient Songs, Ballads, and Dance Tunes Illustrative of the National Music of England. 2 vols. London, 1859.
Clement, Jennifer. “Beyond Shakespeare: early modern adaptation studies and its potential.” Literature Compass 10.9 (2013): 677-687.
Clive, H. P. “The Calvinists and the Question of Dancing in the 16th Century.” Bibliothèque d’Humanisme et Renaissance 23, no. 2 (1961): 296-323.
Condit, Jonathan. Music of the Korean Renaissance: Songs and Dances of the Fifteenth Century. Cambridge: Cambridge University Press, 1984, 2009.
Coffey, John, and Paul C. H. Lim, eds. The Cambridge Companion to Puritanism. Cambridge: Cambridge University Press, 2008.
Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.
Corrsin, Stephen D. Sword Dancing in Europe: A History. Enfield Lock, Middlesex: Hisarlik Press, 1997.
Crisp, Clement. “Into the Labyrinth: Kenneth MacMillan and his Ballets.” Dance Research 25, no. 2 (2007): 188-195. https://doi.org/10.3366/drs.2007.25.2.188.
Cross, Gary. A Social History of Leisure Since 1600. State College, PA: Venture Publishing, Inc., 1990.
Dean-Smith, Margaret, and E. J. Nicol. “‘The Dancing Master’: 1651-1728: Part II. Country Dance and Revelry before 1651.” Journal of the English Folk Dance and Song Society 4, no. 5 (1944): 167-179.
Dennison, James T. The Market Day of the Soul: The Puritan Doctrine of the Sabbath in England, 1532-1700. Lanham, MD: University Press of America, 1983.
Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.
Dolmetsch Historical Dance Society. Tudors and Stuarts: Dances of Court and Country from the time of Elizabeth I and James I. 2nd ed. Berkhamsted, Hertfordshire: DHDS Publications, 2007.
Dolmetsch, Mabel. Dances of England and France from 1450 to 1600: With their Music and Authentic Manner of Performance. New York: De Capo Press, 1949, 1975.
Dutton, Richard. Shakespeare, Court Dramatist. Oxford: Oxford University Press, 2016.
Es, Bart van. Shakespeare in Company. Oxford: Oxford University Press, 2013.
Fallows, David. “The Gresley Dance Collection, c.1500.” Royal Musical Association Research Chronicle 29 (1996): 1-20.
Finkelpearl, Philip. John Marston of the Middle Temple: An Elizabethan Dramatist in His Social Setting. Cambridge, MA: Harvard University Press, 1969.
Fiorato, Sidia, and John Drakakis, eds. Performing the Renaissance Body: Essays on Drama, Law, and Representation. Berlin: DeGruyter, 2016. Includes “Introduction: Performances, Regulations and Negotiations of the Renaissance Body. Legal and Social Perspectives,” pp. 1-26, and “The Performance of the Queen Consort’s Sovereignty: Queen Anna of Denmark,” pp. 247-272.
Forrest, John. The History of Morris Dancing, 1458-1750. Toronto: University of Toronto Press, 1999.
Foster, Susan Leigh, ed. Choreographing History. Bloomington: Indiana University Press, 1995.
Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.
_____. The Dancing Body in Renaissance Choreography, c. 1416-1589. Birmingham, AL: Summa Publications, 1986.
_____. “Fragment of the Sovereign as Hermaphrodite: Time, History, and the Exception in Le Ballet de Madame.” Dance Research 25, no. 2 (2007): 119-133. https://doi.org/10.3366/drs.2007.25.2.119.
Gair, Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553-1608. Cambridge: Cambridge University Press, 1982.
Goellner, Ellen W., and Jacqueline Shea Murphy, eds. Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers University Press, 1995.
Goring, Jeremy. Godly Exercises or the Devil’s Dance? Puritanism and Popular Culture in Pre-Civil War England. London: Dr. William’s Trust, 1983.
Gough, Melinda. “The Advent of Women Players and Playwrights in Early Modern France,” with Perry Gethner. Renaissance Drama 44, no. 2 (Fall 2016): 217-232.
_____. Dancing Queen: Marie de Médicis’ Ballets at the Court of Henri IV. Toronto: University of Toronto Press, 2019.
_____.“‘Honny-dewed tongues of harlots’: Circe and the Sirens in Renaissance encyclopedias and mythographic compendiums” (translated as “Circe y las Sirenas en las Mitografías y Enciclopedias del Renacimento”). El libro de las sirenas, ed. J. M. Pedrosa, pp. 129-148. Almería: Exco. Ayuntamiento de Roquetas de Mar, 2002.
_____. “Introduction: Gender, Cultural Mobility, and Theater History Inquiry.” with Clare McManus. Renaissance Drama 44, no. 2 (Fall 2016): 187-200.
_____. “Marie de Medici’s 1605 ballet de la reine and the virtuosic female voice,” Early Modern Women: An Interdisciplinary Journal 7 (2012): 127-156.
_____. “Marie de Medici’s 1605 ballet de la reine: new evidence and analysis.” Early Theatre 15, no. 1 (2012): 109-144.
_____. “Tasso’s enchantress, Tasso’s captive woman.” Renaissance Quarterly 54, no. 2 (Spring 2001): 523-52.
_____. “Women’s Popular Culture? Teaching the Swetnam controversy.” In Debating Gender in Early Modern England, ed. Cristina Malcolmson and Mihoko Suzuki, pp. 79-100. New York: Palgrave, 2002. Republished in Literature Criticism from 1400 to 1800 (Gale 2011).
Gurr, Andrew. Playgoing in Shakespeare’s London, 2nd ed. Cambridge: Cambridge University Press, 1996.
_____. The Shakespearean Playing Companies. Oxford: Clarendon Press, 1996.
Heiter, Gerrit Berenike. “Material Matters: The Representation of Choreographic Events in 17th-Century Festival Books and Court Ballet Programs.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 153-172. Dance Studies Association, 2017.
Hirsch, Brett D. “Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux?” Early Theatre 16, no. 1 (2013): 139-149.
Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690. Oxford: Clarendon Press, 1993.
Howard, Jean Elizabeth. “Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy.” In Localizing Caroline Drama: Politics and Economics of the Early Modern Stage, 1625-1642, edited by Alan Farmer and Adam Zucker, pp. 183-211. New York: Palgrave Macmillan, 2006.
Hudler, Melissa. “Rapt with sweet pleasure”: The Rhetoric of Dance in Sir John Davies’ Orchestra or A Poem of Dancing. Ben Jonson Journal 25.1 (2018). Forthcoming.
_______. Review of Renaissance Figures of Speech. Ed. Sylvia Adamson, Gavin Alexander, and Katrin Ettenhuber. Early Modern Literary Studies 15.1 (2009).
_______. Review of Science, Literature, and Rhetoric in Early Modern England. Ed. Juliet Cummins and David Burchell. Renaissance Studies 23.3 (2009): 392-94.
_______. “The Body Speaks of Sin: The Voice of Dance in the Middle Ages.” Interdisciplinary Humanities 21.1 (2004): 20-29.
le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.
Hutcheon, Linda. A Theory of Adaptation. Abingdon: Routledge, 2006.
Hutton, Ronald. The Rise and Fall of Merry England: The Ritual Year, 1400-1700. Oxford: Oxford University Press, 1994.
_____. The Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.
Inglehearn, Madeleine. “Swedish Sword Dances in the 16th and 17th Centuries.” Early Music 14, no. 3 (1986): 367-372.
_____. Ten Dances from Sixteenth-Century Italy. Wiltham, Essex: Companie of Dansers, 1983.
Jensen, Phebe. Religion and Revelry in Shakespeare’s Festive World. Cambridge: Cambridge University Press, 2008.
Johnston, Alexandra, and Wim N. M. Hüsken, eds. English Parish Drama. Amsterdam: Rodopi, 1996.
Jones, Pamela. “The Editions of Cesare Negri’s Le Gratie d’Amore: Choreographic Revisions in Printed Copies.” Studi musicali 21, no. 1 (1992): 21-33.
_____. “Spectacle in Milan: Cesare Negri’s Torch Dances.” Early Music 14, no. 2 (1986): 182-196.
Kendall, G. Yvonne. “Early Renaissance Dance, 1450-1520.” In Performer’s Guide to Renaissance Music, 2nd edition, edited by Jeffery T. Kite-Powell, 377-398. Bloomington: Indiana University Press, 2007.
_____. “Rhythm, Meter, and ‘Tactus’ in 16th-Century Italian Court Dance: Reconstruction from a Theoretical Base.” Dance Research 8, no. 1 (1990): 3-27.
_____. “Theatre, Dance, and Music in Late Cinquecento Milan.” Early Music 32, no. 1 (2004): 74-95.
Kenley, McDowell E. “Il Mattaccino: Music and Dance of the Matachin and Its Role in Italian Comedy.” Early Music 40, no. 4 (2012): 659-670.
_____. “Mad Fools and the Praise of Folly: Matassins and the Bballets of Lully, Destouches and Campra (1660-1718).” Early Music 45, no. 3 (2017): 445-457.
Kidnie, Margaret Jane. Shakespeare and the Problem of Adaptation. Abingdon: Routledge, 2009.
Kim, Youngmi. “La Volta and Gum-Mu: A Comparison of Court Dance from 16th-Century England and 18th-Century Chosun.” MA thesis, Binghamton University, New York, 2017. [Editor’s Note: Although Kim draws on outdated sources for English court dance, and the argument would work better for the galliard than for the volta, she demonstrates that comparative studies of court dance are worthwhile endeavours.]
Lamothe, Virginia Christy. “Dancing at a Wedding: Some Thoughts on Performance Issues in Monteverdi’s ‘Lasciate i monti’ (Orfeo, 1607).” Early Music 36, no. 4 (2008): 533-546.
Lin, Erika T. “A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations.” In The Oxford Handbook of Dance and Theater, edited by Nadine George-Graves (Oxford: Oxford University Press, 2015), 335-361.
Major, John M. “The Moralization of the Dance in Elyot’s Governour.” Studies in the Renaissance 5 (1958): 27-36.
Marcus, Leah. The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes. Chicago: University of Chicago Press, 1986.
Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.
McGee, Timothy J., ed., Improvisation in the Arts of the Middle Ages and Renaissance. Early Drama, Art, and Music Monograph Series 30. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.
- Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth-Century Dance.”
- Nevile, Jennifer. “Disorder in Order: Improvisation in Italian Choreographed Dances of the Fifteenth and Sixteenth Centuries.”
- Sparti, Barbara. “Improvisation and Embellishment in Popular and Art Dances in Fifteenth- & Sixteenth-Century Italy.”
McGinnis, Katherine Tucker. “At Home in the ‘Casa del trombone’: A Social-Historical View of Milanese Dancing Masters.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.
_____. “Moving in High Circles: Courts, Dance, and Dancing Masters in Italy in the Long Sixteenth Century.” PhD diss., University of North Carolina at Chapel Hill, 2001.
McGowan, Margaret M. Dance in the Renaissance: European Fashion, French Obsession. New Haven: Yale University Press, 2008. [Regarding errors in this work, see Angene Feves’ review, “Renaissance Dance Scholarship: Read but Verify” in Dance Chronicle 32, no. 3 (2009): 499-504.]
McJannet, Linda. The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code. Newark, DE: University of Delaware Press, 2003.
McManus, Clare, and Lucy Munro. “Renaissance Women’s Performance and the Dramatic Canon: Theater History, Evidence, and Narratives” — a special issue. Shakespeare Bulletin 33, no. 1 (2015). https://muse.jhu.edu/issue/31613.
McMillin, Scott, and Sally-Beth MacLean. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.
Miller, Lynneth. “Divine Punishment or Disease? Medieval and Early Modern Approaches to the 1518 Strasbourg Dancing Plague.” Dance Research Journal 35, no. 2 (November 2017): 149-164.
_____. “‘Satan Danced in the Person of the Damsel’: Dance, Sacrilege, and Gender, 1280-1640.” PhD diss., Baylor University, 2018.
Mirabella, Bella. “‘In the Sight of All:’ Queen Elizabeth and the Dance of Diplomacy.” Early Theatre 15, no. 1 (2012): 65-89.
_____. “Stealing Center Stage: Female Mountebanks, Pseudoscience and Non-Professional Theater.” English Language Notes 47, no. 2 (2009): 35-47.
Monahin, Nona. “Writing for Posterity: A Reassessment of Arbeau’s Orchésographie (1589).” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 125-135. Congress on Research in Dance, 2015.
Morgan, Jennifer M. “Death, War, Dance, and Discovery: The Representation of Percussion Instruments in Medieval and Early Modern French Literature.” PhD diss., University of Wisconsin at Madison, 2018.
Naylor, Edward W. Shakespeare and Music, with Illustrations from the Music of the 16th and 17th Centuries. London: J. M. Dent & Co., 1896.
Nevile, Jennifer. “Dance in Early Tudor England: An Italian Connection?” Early Music 26, no. 2 (1998): 230-234, 237-242, 244.
_____. “Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline.” Renaissance Quarterly 68, no. 2 (2015): 597-612.
_____. The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy. Bloomington: Indiana University Press, 2004.
_____. Footprints of the Dance: An Early Seventeenth-Century Dance Master’s Notebook. Leiden: Brill, 2018.
_____. “Learning the Bassadanza from a Wolf: Andrea Calmo and Dance.” Dance Research 30, no. 1 (2012): 80-97.
_____. “‘Rules for Design’: Beauty and Grace in Caroso’s Choreographies.” Dance Research 25, no. 2 (2007): 107-118. https://doi.org/10.3366/drs.2007.25.2.107.
_____, ed., Dance, Spectacle, and the Body Politick, 1250-1750. Bloomington, IN: Indiana University Press, 2008.
Ortiz, Joseph M. Broken Harmony: Shakespeare and the Politics of Music. Ithaca: Cornell University Press, 2011.
Parry, Caroline Balderston. “‘The Maypole is up, now give me the cup…’.” REED Newsletter 11, no. 1 (1986): 7-9.
Pennino- Baskerville, Mary. “Terpsichore Reviled: Antidance Tracts in Elizabethan England.” Sixteenth Century Journal 22, no. 3 (1991): 475-494.
Pollard, Tanya. Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.
Pontremoli, Alessandro, ed. “Virtue et arte del danzare”: Contributi di storia della danza in onore di Barbara Sparti. Rome: Aracne Editrice, 2011.
- Arcangeli, Alessandro. “Renaissance Dance and Writing: the Case of Arcangelo Tuccaro,” pp. 39-48.
- Harris-Warrick, Rebecca. “Naturalizing Novelty: Italian Opera as Parisian Audiences Saw It in 1729,” pp. 165-179.
- Heller, Wendy. “Ermiona and the Ballo dei beozi (1636): A Padovan Legacy for Benetian Theatrical Dance,” pp. 115-131.
- McGinnis, Katherine Tucker. “‘Face Time-Mask Time’: The Merging and Diverging of Public and Private Space in Sixteenth-Century Dance Practices,” pp. 83-97.
- Note: Additional essays are in Italian.
Pugliese, Patri J. “Why Not Dolmetsch?” Dance Research 13, no. 2 (1981): 21-24.
Ranum, Patricia. “Audible Rhetoric and Mute Rhetoric: The 17th-century French Sarabande.” Early Music 14, no. 1 (1986): 22-40.
Rodgers, Amy J. A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England. Philadelphia: University of Pennsylvania Press, 2018. (BookFinder)
Salmen, Walter. “Dances and Dance Music, c. 1300–1530.” In New Oxford History of Music, vol. 3.1, edited by Reinhard Strohm and Bonnie J. Blackburn, 162-190. Oxford: Oxford University Press, 2001.
Savage, Roger. “Rameau’s American Dancers.” Early Music 11, no. 4 (1983): 441-452.
Scolieri, Paul A. Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest. Austin: University of Texas Press, 2013.
Semenza, Gregory M. Colón. Sport, Politics, and Literature in the English Renaissance. Newark, DE: University of Delaware Press, 2003.
Semmens, Richard. “A Sorcerer’s Apprentice? John Weaver’s Comic Muse.” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 160-167. Congress on Research in Dance, 2015.
Smith, Judy. “The Art of Good Dancing—Noble Birth and Skilled Nonchalance. England 1580-1630.” Historical Dance 2, no. 5 (1986/7): 30-32.
Sparti, Barbara. “Antiquity as Inspiration in the Renaissance of Dance: The Classical Connection and Fifteenth-Century Italian Dance.” Dance Chronicle 16, no. 3 (1993): 373-390.
_____. “‘Artistic’ Theory of Dance in Fifteenth-Century Italy.” Yearbook for Traditional Music 35 (2003): 183-185.
_____. “Breaking Down Barriers in the Study of Renaissance and Baroque Dance.” Dance Chronicle 19, no. 3 (1996): 255-276.
_____. Dance, Dancers, and Dance-masters in Renaissance and Baroque Italy. Bologna: Massimiliano Piretti Editore, 2015.
_____. “The 15th-century balli Tunes: A New Look.” Early Music 14, no. 3 (1986): 346-357.
_____. “What Can Pictures Tell Us (and Not Tell Us) about Dance? Reading Italian Renaissance Iconography.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.
Streitberger, W. R. The Masters of the Revels and Elizabeth I’s Court Theatre. Oxford: Oxford University Press, 2016.
Sutton, Julia. “Cadential Formulae in Music and Dance in Sixteenth-Century Italy.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.
_____. “Dance: Late Renaissance and Baroque to 1730: (i) Before 1630.” In Grove Music Online, edited by Deane L. Root, 2014.
Temple, Michele. The Middle Eastern Influence on Late Medieval Italian Dances: Origins of the 29987 Istampittas. Lewiston, NY: Edwin Mellen Press, 2001.
Terry, Esther. “Belonging While Black: A Choreography of Imagined Silence in Early Modern African Diasporic Dance.” PhD diss., University of Pittsburgh, 2016.
Todd, Margo. “Profane Pastimes and the Reformed Community: The Persistence of Popular Festivities in Early Modern Scotland.” The Journal of British Studies 39, no. 2 (2000): 123-156.
Underdown, David. “‘But the Shows of their Street’: Civic Pageantry and Charivari in a Somerset Town, 1607.” Journal of British Studies 50, no. 1 (2011): 4-23.
_____. Revel, Riot, and Rebellion: Popular Politics and Culture in England 1603-1660. Oxford: Clarendon Press, 1985.
van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005.
Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Urbana, IL: University of Illinois Press, 1997.
Waxman, Donald, ed., with Wendy Hilton. A Dance Pageant: Renaissance and Baroque Keyboard Dances. Boston: Galaxy Music Corporation (E. C. Schirmer), 1992. (This is a music collection with notes and commentary on the dance types.)
Whitlock, Keith. “John Playford’s the English Dancing Master 1650/51 as Cultural Politics.” Folk Music Journal 7, no. 5 (1999): 548-578.
Whitta, James. “Performing the Medieval Masculine Subject Through Grace.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 193-210. Dance Studies Association, 2018.
Williams, Seth Stewart. “Virtual Motion: Dance and Mobility in Early Modern English Literature.” PhD diss., Columbia University, 2017.
Winerock, Emily F. “Churchyard capers: the controversial use of church space for dancing in early modern England.” In The Sacralization of Space and Behavior in the Early Modern World: Studies and Sources, edited by Jennifer Mara DeSilva, pp. 233-256. Farnham: Ashgate, 2015.
_____. “Competitive Capers: Gender, Gentility, and Dancing in Early Modern England.” In The Oxford Handbook of Dance and Competition, edited by Sherril Dodd, pp. 66-86. Oxford University Press, 2018.
_____. “Discourteous Courtesies and Irreverent Reverences: Rethinking the Renaissance Bow.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 211-219. Dance Studies Association, 2018.
_____. “‘Performing’ Gender and Status on the Dance Floor in Early Modern England.” In Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (Essays in Honour of Barbara Todd), edited by Kim Kippen and Lori Woods, pp. 449-472. Toronto: Centre for Reformation and Renaissance Studies, 2011.
_____. “Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640.“ PhD diss., University of Toronto, 2012.
Wood, Melusine. “Some Notes on the English Country Dance before Playford.” Journal of the English Folk Dance and Song Society 3, no. 2 (1937): 93-99.
Wooding, Barbara. John Lowin and the English Theatre, 1603–1647: Acting and Cultural Politics on the Jacobean and Caroline Stage. Farnham: Ashgate, 2013.
Updated December 4, 2019.